Reviewed by J. Cooper Robb for Theatre Reviews Limited

Eugene O'Neill, one of the most significant American playwrights this century, felt that he was never able to fully communicate with a mass audience. Forever perturbed by critics and audiences alike for misinterpreting his work, one cannot but feel that O'Neill would be pleased by the current revival of "The Iceman Cometh" at the Brooks Atkinson Theatre. The show is both the critical and popular hit of the year, completely sold out for the length of its run. Director Howard Davies of the original Almedia Theatre production has rediscovered O'Neill's epic 1946 play in a production that borders on flawless.

"The Iceman Cometh" concerns the inhabitants of Harry Hope's "no chance" saloon and boarding house, also referred to as ‘the palace of pipe dreams". Here the members of the "tomorrow movement" languish amidst the dim, stale surroundings. The only breath of fresh air is provided by the periodic visits of Theodore Hickman, known affectionately to this rag-tag band of freeloaders as Hickey. The residents of the saloon, who represent a full slice of American pie circa 1912, all live with glass in hand, their only pleasure being the appearance of a free drink. They anticipate the appearance of Hickey in "Godot" fashion, mainly due to his history of buying drinks for the house, and Hickey arrives at the end of the first act to considerable fanfare. But much to everyone's surprise, their legendary drinking buddy shows up sober.

While Hickey's newfound abstinence is initially disconcerting to the gentlemen of Harry's, he still retains his free-spending habits and all are soon happily drunk as Hickey plans Harry's birthday party. It isn't until Hickey begins discussing the eternal peace that he has found that the others take offense. For them, happiness is fleeting, lasting only until the booze runs out - which considering their finances and thirst, is often. Hickey quickly challenges the group to abandon their talk of pipe dreams and go forth into a world that contains equal doses of terror and fear.

The risk of leaving one's passive and protective existence is at the heart of O'Neill's tragedy. He has examined this theme many times before, often by recreating the Greek tragedy in a uniquely American setting ("Desire Under the Elms" and "Mourning Becomes Electra"). In his plays O'Neill replaces the royal blood of Shakespeare and the Greeks with the common man. No less an authority than Arthur Miller summed up this new tragic hero in his 1949 New York Times essay "Tragedy and the Common Man" when he wrote that the "Oedipus and Orestes complexes which were enacted by royal beings applies to everyone in similar emotional situations." Like Hamlet or Antigone, Hickey is willing to sacrifice his life in a quest for personal dignity, and refuses to remain passive in a seemingly unchangeable world.

Hickey's struggle to achieve his rightful position in society is of course tragic, but also exalted by O'Neill. O'Neill appeared to be describing Hickey when he remarked that "exaltation is an intensified feeling of the significant worth of man's being and becoming", as opposed to "a smirking contentment with one's own lot. I see life as a gorgeously-ironical, beautifully -indifferent, splendidly-suffering bit of chaos." O'Neill exalts Hickey's attempt at freedom and uses his search to identify the enemies of liberty. In this way O'Neill achieves what all tragedy must, the ability to enlighten. Hickey realizes his tragic flaw too late to save himself, but his experience can redeem his fellow self-centered alcoholics.

While much has been made of Kevin Spacey's portrayal of Hickey the rest of the cast is equally spectacular. There is rarely a misstep among the large ensemble and particularly superb is Tim Pigott-Smith as Hickey's old friend turned chief critic Larry Slade. Clarke Peters is stunning as Joe Mott, who as the lone black man battling with racism, shows that a hierarchical system exists even among the lowest rung of society, and the remarkable Michael Emerson, fresh from his award winning performance as Oscar Wilde in "Gross Indecency", is heartbreaking as the vulnerable Willie Oban. The entire cast is so magnificent that any one of them could easily have received a Tony nomination, and the fact that "The Iceman Cometh" received no nominations in the featured actor category, and in fact was shut out at the award ceremony completely, is beyond ludicrous.

As unscrupulous salesman turned savior Theodore Hickman, Kevin Spacey gives an instinctive, thoughtful, and thoroughly honest performance. In portraying O'Neill's tragic hero Spacey lends new meaning to the term supporting actor. In shunning bravado, Spacey shares every inch of the Atkinson stage, never dominating but rather spurring on the other players. Spacey precisely weaves his way through his remarkable third act monologue dazzling the hushed audience, and magnetically drawing the play into its breathtaking and seemingly endless moment of silence. Spacey's Hickey is the stuff of which legends are made. He has taken one of the American theater's most revered characters and made it forever, indelibly, his own.

Mark Henderson's lighting design and Bob Crowly's set and costumes are notable for their unobtrusiveness. Henderson's lighting is so subtle and discreet that when the saloon's front door opens letting in the glare of daylight it is a truly terrifying effect. And coupled with Crowley's set not only does it appear as if none of the characters has ever set foot out of the establishment, but the audience is serenely lured in to its atmosphere of comfortable hopelessness.

Bringing this production together is Howard Davies swift and revealing direction. With a shrewd hand he guides the show with insight illuminating all the power of O'Neill's haunting yet hopeful script. "The Iceman Cometh" is not exactly upbeat, but Davies understands that the people in "Iceman" share a universal fate with all of humankind, the ability to govern their own fate. This in know way ensures a happy ending, but that's not the point. O'Neill remarked that "the brave individual always wins, fate can never conquer his or her spirit." And that "the tragedy of man is perhaps the only significant thing about him." "The Iceman Cometh" is a significant play in theater history and is filled with more hope than any comedy ever written. O'Neill's masterpiece not only exalts life, but expands the possibilities of theater as well.


"THE ICEMAN COMETH"

By Eugene O'Neill. Directed by Howard Davies. Set and costumes designed by Bob Crowley; lighting design by Mark Henderson; sound design by John A. Leonard; original music by Paddy Cunneen. At the Brooks Atkinson Theatre, 256 West 47th Street. Performance schedule: Monday through Saturday evenings at 7:00 p.m. with a Saturday matinee at 1:00 p.m. Tickets at $100, $75, and $50 can be reserved by clicking on "Purchase Tickets" above.

WITH: Tony Danza (Rocky), Ed Dixon (Piet Wetjoen), Michael Emerson (Willie Oban), Katie Finneran (Cora), Paul Giamatti (Jimmy Tomorrow), Patrick Godfrey (Cecil Lewis), James Hazeldine (Harry Hope), Catherine Kellner (Margie), Robert Sean Leonard (Don Parritt), Clarke Peters (Joe Mott), Tim Pigott-Smith (Larry Slade), Richard Riehle (Pat McGloin), Steve Ryan (Moran), Stephen Singer (Hugo), Kevin Spacey (Hickey), Dina Spybey (Pearl), Skipp Sudduth (Chuck Morello), Ned Van Zandt (Lieb) and Jeff Weiss (Ed Mosher).

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